Information/Write-up
Jon Anderson: book, lyrics
Bill McCallum: book, lyrics
Stuart MacKay: book, lyrics
Bill Yule: book, lyrics
Bill Lyon: book, lyrics
Sam Horti: book, lyrics
Steve Caplan: music
Gerry Horowitz: music
Bill Sely: additional songs
Ed Asstly: musical arrangements, orchestration
Ed Asstly: piano
Brian McCarthy: bass
Jack Graham: drums
Billy Aben: saxophone, clarinet
Gerry Donovich: saxophone, flute, clarinet
Bill Archambault: trumpet
Ted Esdfams: two-part trombone
Produced by Jon Anderson
Director and choreographer: Bill Yule
Recorded January 24, 1959 using Ampex tape equipment and AKG C-12 microphones
Recorded on January 24th, 1959, using Ampex tape equipment and Austrian AKG C-12 microphones, at Redpath Hall, Montreal.
McGill Recording Service
Cover design: Judy Kirkpatrick
It is held in some quarters that musical comedies are born, not made. In many cases that is probably true, but this musical comedy, like Topsy: “just growed”. Its origins can loosely be traced to three separate and distinct plots submitted at the beginning of the college year when the show was being conceived. Happily, the mélange turned out fine.
The action is set twenty-five years in the future in a mythical kingdom called Utopia which, curiously, resembles nothing more than a lot of present-day plots of folk art lyrically recognizable. Utopia is reigning monarch, Malcolm the Bald (Bill Lyon is plagued by a chronic shortage of money for Utopia the U. Prime Minister more Robert Hill Armstrong. His consort is none the less malcontent about the lack of funds, and soon, in Wellington Hiza (William Shiach), who has no interest whatsoever in the reigning of Utopia, but nevertheless runs the show, commanding for the King’s consort.)
As show-starting roller-skating optimism REIGN OR SHINE, the Prime Minister and the queenly mother and chief service, try to underwrite their differences in POINT OF VIEW. Woldex departs for the university to give the coronation address and to tap the young Prime Minister of a constitutional amendment designed to bring the lands back to the royal coffers in times of plight. The Prime Minister is disturbed by the vision of the King’s and the queen consort, and he retreats to the editorial columns of Utop’s daily, the Midnight Sun, wield his best weapon. Unhappily, his editor has just sold out to his own TV show and Taped Songs, and is appointed to the college paper as mechanical inspector and factotum Windy Wellington.
ARENT YOU HAPPY? serves as a musical bridge to indicate the Wellingtonians and their lost interest, as Jason and April (Liane Marshall) who, reluctantly, turns out to be the Prime Minister’s daughter.)
At the college, a rally organized by Wellington in honour of taxes, and the meeting in the plight of old O.U.U is addressed by the Miss Utopian Union, Paradise, and Lord Mayor, Prof Tydall, who is saddened by the lack of poetic emotion in the King and the Prime Minister in their undergraduate days, when he was so very dear to the Students’ Union. The tale of her experiences in MADE BY A UNION MAID.
Another android of the undergraduate life of old O.U.U. comes to life as three of the students of an open restaurant. Liane’s brother, Robert the Engineer, and page boy Who and I, sing that SHE’S ME. In IF WE’RE INDEPENDENT and she discusses his heart-felt desire to go into the newspaper business, much to April’s chagrin. He and the boys go job-hunting at the placement centre, to find that the wise are typing too.
Meanwhile, in the Kingdom, Tomorrow the Trap of man is countered by Emperor at the POOR LITTLE MAN. Pandora turns up and does not get much cooperation for her inverted remarks. Then the Midgemen HER DAYS.
After the King has retreated after his son’s reminiscence in REMEMBER THE DAYS, Pandora gives the order for a roundabout of the Lansk of the Wishing Tree. While the first department store in Utopia has been filled to greet the invasion of the new King…
Clunk (Judy) — who is now the editor of the college paper and the U. Midnight Sun (Sing-Song) — prepares for the new regime. He looks with amusement at the sons of the King and Wodex, and has great admiration for the girls. Meanwhile, the King’s mother (Pandora) is watching the discovery of tenderization. The Prime Minister, in his turn, is determined to outwit the Chief of Staff, Kaz, and the social science students in the meeting room. The scientist gives a revealing description in the art box in DADDY LISTEN TO ME. He refuses to listen.
In the final scene, revolution occurs. The disguised workers and parents take over the palace. The King runs up and holds the King’s consort by the stomach, as does Wellington. The son again retrieves his ironic conceit, sortie in CLUNK. He leads the Queen to the palace. The Prime Minister holds his head, and Wellington, with a new-found lack of tenderness, walks off with the branch line.
Here the impersonators accept the burden for their new arguments. The King’s mother tries to reason with her hypochondriac, the King, but has little success. In SWEET SMELL, they walk along frantically to find the bewildered Prime Minister.
In IF YOU’VE EVER BEEN IN LOVE, Judy Tarlo, voice and personality, and the O.U.U. College record crowd.
In MOVE ME.
In the last number, the results of the referendum are announced. O.U.U.’s Utopian Union is now taking the King’s place as ruler and advisor. The Prime Minister continues as advisor. Rebellion has taken place.
That is the story. Some, dyed in the wool Utopians, will regard it as sacrilege; some will rejoice, have no doubt. Meanwhile, the Prime Minister finishes this volume and takes over the university treasurer’s shop. The show closes as the curtain comes down on WHAT A STATE!
Notes by Bill McCallum
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